Don Draper in flares, listening to disco and growing a perm? There's something dreadully wrong about the idea of Jon Hamm's character living beyond the suave '60s, so surely it should all come to a conclusion on the stroke of midnight 1969.

The guessing game of 'who will Don will be kissing' when the Times Square party kicks off at midnight could provide a sugary ending for those who still have a soft spot for The Don.

It could be even bigger than Who Killed JR? The ultimate TV cliffhanger. With so many enemies, the finale of Mad Men can surely only end with one of them finally being pushed too far by Don's womanising ways and taking revenge.

But who would pull the trigger? His ex-wife? A business rival? One of the endless one-night-stand secretaries he's left heartbroken? Or even one of his own children?

Fed up with the men's constant sexism towards them, Peggy and Joan put their differences aside and team up to start their own business. After a few teething problems, it all comes down to one big client - and it's between Peggy and Joan's company and Sterling Cooper Draper Pryce.

Without Peggy to prop Don up or Joan to keep Roger, um, organized, the men are flailing and the women rise to the top, victorious. But Peggy takes pity on Don - who, after all, gave her her big break - and hires him to work for her.

During a pitch, Don gives an impassioned speech claiming that some tacky product is "the future". That's the cue for a flash-forward, a sped-up sequence where we see Don's entire future - draped in disco gear, having a bop, getting older, marrying Peggy, meeting his grandchildren and, eventually, sitting in a rocking chair with a blanket on his knees.

Then we jump back to the pitch, but the clients are unimpressed and announce they'll be taking their business to Roger Sterling.

Flamboyant Sal (Bryan Batt) returns, now a successful writer on Broadway, and uses his accumulated millions to buy out Sterling Cooper Draper Pryce, finally getting revenge on Don for his unfair dismissal years before!

And just for the hell of it, let's bring Orson Welles-alike Kinsey (Michael Gladis) back too - he can be Sal's producing partner on a string of musical hits.